- Formula Colour: Solid and consistent colour on the swatches. The colours are created when mixing CYMK, these colours are being mixed together with 4 plates.
- 4-Colour Process: We could see the DPI (dots per inch) of the CYMK colours.
- How the plates are organised there slightly off set with each other, we have to be able to see bits of all the colours in order for us to mix them.
- CYMK is optical illusion and we mix the colour in our eyes.
We were asked to bring in 5 examples of printed graphic design ranging from posters, leaflets and packaging. We first of all put them into piles of how many colour processes they had been put into only using our eyes. This task was quite difficult because some of the products had a lot of halftones and gradients so it was hard to determine.
We then used the linen checkers again and put our printed graphics into two piles. One pile for design being created using the 4 colour process (DPI) & one for Formula colour (full colour).
As a group we then looked at an array of mixed print in the 4 colour modes of CMYK and a full colour copy.
We then used the linen checkers again and put our printed graphics into two piles. One pile for design being created using the 4 colour process (DPI) & one for Formula colour (full colour).
As a group we then looked at an array of mixed print in the 4 colour modes of CMYK and a full colour copy.
(Colour)
(Magenta)
(Key)
(Cyan)
(Yellow)
Careful consideration's when printing
After looking at the different processes we then generated some personal questions about colour theory we wanted to find out. We then in the following days had to find out the answers.
From reading up about the question I found that you need to provide enough contrast between background and body copy. White or light type on a black background for large chunks of body copy can strain some eyes. Try to provide an alternative so headers can read dark copy on light backgrounds. Colour succeeds best when it is used with restraint and don't use complementary colours as aesthetically it can effect the legibility and readability of the body copy.
Useful links
- Printing is a lot of money, so when putting through a big print makes sure if you wanted to use a full colour e.g Magenta that on the sliders it's 100% or the company can charge you for using another colour plate.
After looking at the different processes we then generated some personal questions about colour theory we wanted to find out. We then in the following days had to find out the answers.
10 personal Questions:
- What is a hue?
- What are the most legible colours to use in print apart from black and white?
- How are simulations created?
- What is the difference between additive and subtractive colour?
- How can you compare of the complementary colours are not on the wheel?
- How does contrast on extension work?
- What is contrast of temperature?
- Why does the colour on screen substantially change when printed?
- Can complementary colours work on neutral backgrounds?
- What is the term for a non-complementary colour?
10 answers I sourced:
- The Difference between a Hue, Tint, Shade and Tone
- *Answer below - Interlinked group question*
- Johannes Ittens “The eye requires any given colour to be balanced by its complimentary and will spontaneously generate the latter if it is not present.” Complementary colours also can make the viewer see colour vibration—literally, the two colours seem to vibrate when near each other. Colour in Design
- Additive + Subtractive Colour
- Because of the limitations imposed by the range of colours that were available throughout most of the history of art, many artists still use a traditional set of complementary pairs, including (as proposed by Goethe - Goethe's colour wheel): purple and green, orange and blue, yellow and violet -Complementary Colours
- The contrast of extension refers to the quantity of colours used in a visual display. Since this is always relative and artists/designers use the quantity of colour for expressive and decorative purposes, there is no constant correct ratio - Contrast of Extension
- Temperature is an attribute of colour or a characteristic of a pigment. In the context of colour and painting, when artists refer to temperature, what they are referring to is the degree of warmth or coolness measured when one colour stands in relationship to another colour creating a measure of contrast. This perceived temperature is usually measured relative to something else or relative to the area around it. -Temperature in Colour
- Many factors control the colour when it comes to light. Different conditions effects the way it's read, the best way to use colour is in controlled dark light e.g the digital dungeon. Using a computer and software such as Photoshop have different colour modes to help you get the exact colour you want. Screen change: different colour of gates + casts, web safe colours for on screen work that will be consistent on any computer. Useful link: A Guide To Preparing For Print
- Your eye doesn’t like resting on the edge. The two complementary colour in their purest, most saturated form don’t sit well together. However painters like Van Gogh have used complementary colours in paintings and he has a set of rules of how to apply this -Van Gogh
- Possibly just colour - primary, secondary and terichary
5 Group Questions:
- Why do colours force out complimentary colours? In terms of seeing one colour , putting too colours together getting a neutral tone. e.g. purple and yellow
- Simplest way to balance colour?
- Is it always a case of contrast of tone + hue working together? YES
- How many colours can one use? as many as you want , (3 colour combination) the more type or colours your put into a piece of a design , can get in the way of you communicating. Use up to 7 plates CYMK 2 sit varnishes and a gloss.
- If everyone perceives colour differently does this mean we perceive contrast differently? there's no definite answer for this because no one can actually see through other peoples eyes so this can't be proven.
Other group feedback/answers:
- In terms of seeing one colour the rods + cones get over worked and change colour. The perception of colour drops psychologically and compensates.
- Photoshop colours balance tool, colour balance has a weight and chromatic values.
- Aesthetically its best for the client as it's easiest for the eye.
- As many as you want but equally spaced. The risk is great but a good designer will know how to use them. The main factor is the effectiveness of communication.
- A way of systematising colour subjectively and yes. Some people are red and green colour blind and the physical, lazy and untrained eye could depend on personal factors.
The other group questions:
- How can colour assist hierarchy in text?
- Max or Min Amount of colours to use when designing?
- How can I apply rules such as temperature towards my design?
- What appeals to different audiences ? connotations?
- Whats the best colour combination for body copy apart from black and white?
I was asked to find out question 5: "What's the best colour combination for body copy apart from black and white?"
Useful links
- Merchant Circle
- Colours To Use For People Who Are Colour Blind
- Colour Schemes + Mock ups
- The Psychology of colour
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